The River Why Movie Download
The Last Thing He Wanted, in particular, is a work intended to challenge simple comprehension; even its title contains two possible interpretations. Language, the book suggests, can be distorted until it becomes meaningless. Early on, the unnamed narrator explains her impatience with writing itself, "with the conventions of the craft, with expositions, with transitions, with the development and revelation of 'character. '" To impose order on a set of circumstances so specifically about evasion—in this case the duplicity and doublespeak of American institutions in the 1980s—seems absurd to her, and so she homes in on the story's technical elements instead: tactical erdlators, high-capacity deep wells, laterite. Everything else is too uncertain, too changeable, too taxing to try to reckon with. The narrator's ostensible focus in the book is Elena, a woman who is variously—in the story's achronological sections—a society wife and mother in California, a reporter covering Reagan's 1984 reelection campaign, and an accidental-ish gun runner whose mission takes her from Miami to Costa Rica to an island that's possibly St. Lucia.
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Elena appears to be mired in a state of ennui that makes imminent peril seem preferable to suffocating sameness. "What no Didion heroine can entirely reconcile herself to, " Hilton Als wrote in The New Yorker last year, "is the split between what she wants and what a woman is supposed to do. "
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Readers are first introduced to Elena in the Caribbean, well after she's been caught up in a shadowy conspiracy involving CIA fixers and a fake passport. Then the novel dances among fragments of her former lives—her employment at a beach resort, her exit from the campaign trail just before the California primary, and, finally, her decision to help her ailing father complete an illegal million-dollar arms sale in Central America. That Elena's motivations are hard to unravel is a problem with the story even Didion acknowledges. "The facts of Elena McMahon's life did not quite hang together, " she writes early in the novel. "They lacked coherence. Logical connections were missing, cause and effect. " The first section of the book has a dreamlike quality, in which a sleep-deprived Elena drifts through events in a vertiginous haze. On a flight to Miami she experiences "a brief panic, a sense of being stalled, becalmed, like the first few steps off a moving sidewalk. " Her mother has recently died and her world is folding in on itself in indecipherable layers.
That isn't a slight on the work itself. Didion's novels and journalism are defined by a detached lucidity, often a vehicle for her unnerving appraisal of internal turmoil as symptom and statement of an unraveling world. Particularly in her fiction, Didion concerns herself with the dark lie of American identity: a legacy of blood and corruption in Run, River; the perversion of innocence in Play It as It Lays; the fragility of order and peace in Democracy and A Book of Common Prayer. Arms dealers recur in her stories, as do dead and dying parents, sterile society dinners, and heroines paralyzed by anxiety and a nonspecific sense of dread. (My favorite moment in the novel version of The Last Thing He Wanted is when Elena McMahon, in her former life as the wife of a Beverly Hills tycoon, sits glumly "in front of a plate of untouched cassoulet" at an Academy Awards watch party, so disaffected that she can't even enjoy the show. ) But the interiority of Didion's novels, combined with their experimental structure, tends to defy translation into the framework of film and television.